Pray Away

Doin' Time in the Homo No Mo' Halfway House isn't comedy-it's a hit piece posing as entertainment. Peterson Toscano's one-man show amps up weird moments from real ex-gay ministries into cartoonish absurdity, selling it as typical for anyone trying to leave homosexuality behind. Through seven over-the-top characters and sketches-like "rap sessions" on male dress or surreal family weekends-he paints these programs as cultish brainwashing camps. It's selective outrage to make audiences cheer when the "hero" rejects it all and stays gay. Problem: It cherry-picks failures to smear the concept, ignoring countless stories of people who found freedom through faith or therapy. Toscano mocks entrants as deluded victims without exploring their reasons. This isn't artful satire like The Producers. It's activism with laughs to shame and silence. Watch knowing it's propaganda, not a documentary.

In 1959, Jean Cocteau looked back on his artistic journey for the Télé Monte-Carlo television show Tout la vérité, rien que la vérité. The program ends with a tasty anecdote about television that Cocteau describes as a “box of tricks”. A few weeks later, in the same Victorine studios, Cocteau directed most of the sequences for his last opus: The Testament of Orpheus (1959).

After casting painter and video artist Mania Akbari as the central figure of his groundbreaking Ten (2002), and then witnessing her outstanding debut as a feature film director in 20 Fingers (2004), Abbas Kiarostami urged her to direct a sequel to the film. In Dah be alaveh Chahar (10 + 4), though, circumstances are different: Mania is fighting cancer. She has undergone surgery; she has lost her hair following chemotherapy and no longer wears the compulsory headscarf; and sometimes she is too weak to drive. So the camera follows her to record conversations with friends and family in different spaces, from the gondola she had famously used in her first feature to a hospital bed.

Documentary about four Chinese lesbian women who seek contract marriages with gay men, and form of their lesbian and gay community and fulfill their desires.

In an Amsterdam gym for queer people, three individuals confront doubts about their belonging. David, often read as straight due to his style and body type, feels undesired and questions if he “counts.” Qianyu, nonbinary, struggles with invisibility as queer nightlife favors cis gay men, and past health issues make joining the gym daunting. Barbara, 67 and bisexual, wonders if she still belongs after past rejection by parts of the lesbian community. Through candid conversations and colourful, sometimes absurd fictional scenes, their insecurities and longing for acceptance are explored. Ultimately, the gym becomes a space of vulnerability, solidarity, and self‑realization, helping them see that they are indeed “queer enough.

A film about rural houses in the interior of the Algarve, showing the relationship between the present and memories evoked in the intimacy of the home. Working architecture from the "social imaginary", focusing on how homes were and are lived.

Throughout the Islamic world, each year hundreds of women are shot, stabbed, strangled or burned to death by male relatives because they are thought to have “dishonoured” their families. They may have lost their virginity, refused an arranged marriage or left an abusive husband. Even if a woman is raped or merely the victim of gossip, she must pay the price. Crimes of Honour documents the terrible reality of femicide – the belief that a girl’s body is the property of the family, and any suggestion of sexual impropriety must be cleansed with her blood. We meet women in hiding from their families, a brother who describes his reasons for killing the sister he loved, and a handful of women who have committed themselves to the protection of young women in danger of losing their lives.

Jillian Michaels Killer Buns & Thighs promises to deliver with three fat-blasting booty sculpting workouts that will get you results fast! These 30-minute workouts range in difficulty level in order to provide something for everyone from beginners to the most advanced athletes.

For Barbara Figueroa

A Boy Named Sue chronicles the transformation of a transsexual named Theo from a woman to a man over the course of six years. Following Theo's physiological and psychological changes during the process, as well as their effects on his lesbian lover and community of close friends, A Boy Named Sue tells a story about gender identity, relationships, and how even things that seem permanent can change.

The LA Sisters are outrageous, controversial, always fabulously dressed men and women who feel they are called to minster to the community as 21st century nuns.

Filmed in Zimbabwe, the film depicts the romantic relationship between two women, and the aftermath of the discovery of their relationship